Jane Eyre Character Analysis - 1588 Words

Bertha Mason, Edward Rochester’s first wife, is generally considered the villain in the novel Jane Eyre, although, when taking a closer look at her most diabolical habit, escaping her captivity and setting fires, placing the role of the evil antagonist onto her an incorrect assumption. Jane Eyre is told through the eyes of Jane Eyre herself, in a first person account of her life. Jane, in the most nicely put way, dislikes Bertha, but understandably so. Bertha, in the eyes of the law, has the one thing Jane wants more in the world than anything else, Rochester. Because Bertha and Rochester are still technically married, Jane and Rochester cannot be together. The two lovers made it as far as the aisle before someone bothered to let Jane know†¦show more content†¦Bertha herself doesn’t do anything mad, but it is the perception of what she does that makes her appear insane. It has to be understood that she has been locked away from modern society for years on end, almost to a degree of solitary confinement by today’s standards. In 1951, McGill University signed off on a six-week study on the effects of leaving people in confined cells with moderate sensory deprivation. The study was suspended after just seven days. One week into the experiment and the participants were having visual and sonic hallucinations, and lost the ability to think clearly about anything, for any amount of time. This is what happened to Bertha. On top of that, â€Å"madness† is claimed to be hereditary in Bertha’s family, which is most likely schizophrenia or bipolar disorder, which are both common genetic disorders. Rochester subjected someone, with an already potentially fragile mind, to a state of living for years that would drive the average healthy person to the brink of madness after just one week. Bertha Mason is made the scapegoat for Rochester’s problems and is only as insane and evil as the reader perceives her to be. She most certa inly has her vendettas, but they are targeted at people or ideas, she does not aim to hurt everyone. Bertha has been vengeful toward not only Rochester, but also her family, as evident by her attacking her brother when he comes to visit, for allowing her to be kept in the state she has.Show MoreRelatedJane Eyre Character Analysis950 Words   |  4 PagesJane Eyre is one of many characters in literature that readers can show true empathy to. She is an honorable woman, humble and courageous, kind but strong-willed. While many stories rely on imperfect lead protagonists who fail in order to relate to the downtrodden nature of the human condition, Jane is altogether different. She appeals to the nobler parts of one’s self, a part that is equally common to everyone, but by which one is rarely reminded of. Jane Eyre written by Charlotte Brontà « demonstratesRead MoreJane Eyre Character Analysis1402 Words   |  6 PagesIn her novel Jane Eyre, Charlotte BrontÃ'‘ depicts the ch aracters of Jane Eyre and Bertha Mason as being negatively perceived by society, as they are both treated unfairly and are seemingly undesirable and disregarded. Looked down upon by society, they are made to feel suppressed and as if their thoughts do not matter. Such feelings of oppression seem to drive both Jane and Bertha to madness; Bertha seems to embody the inner rage that Jane tries to control within herself throughout the novel. ThroughRead MoreJane Eyre Character Analysis1064 Words   |  5 PagesCharlotte Bronte’s novel, Jane Eyre is the story of an orphaned ten-year-old girl name Jane Eyre, who overcomes abuse and neglect to discover compassion and love. Jane lives with the Reed family at Gateshead Hall, who was despised Jane, and she is bullied by Mrs. Reed and her son, John. John bullied her when she was reading the book, he threw the book at her head, John tortured Jane mercilessly and cruelly. Jane totally afraid of John, but she didn’t cry and cower un der him. She did try to avoidRead MoreJane Eyre Feminist Analysis1066 Words   |  5 Pagesnature or their intuition. Jane Eyre, a semi-autobiography by Charlotte Brontà «, is an exemplary novel where an untraditional heroine defies societal normality. The female protagonist Jane Eyre exhibits a self-created drive for personal success and a perpetual ambition to learn, characteristics customary of men. After the publication of Jane Eyre, many critics has viewed it through the feminist literary lenses, claiming it to contain biblical feminism. In the literary analysis â€Å"Charlotte Brontà «Ã¢â‚¬â„¢s Religion:Read MoreSummary of Clarkes Brontes Jane Eyre and the Grimms Cinderella1341 Words   |  6 PagesClarke, Micael M. Brontes Jane Eyre and the Grimms Cinderella. SEL: Studies in English Literature 1500-1900. 40.4 (2000): 695-710. Clarke explores the similarities and importance of Brontà «Ã¢â‚¬â„¢s use of the Grimms’ version of Cinderella within the story of Jane Eyre. She outlines how the two stories are parallel and then skillfully explores the symbolism that is present in both. Through her analysis of the ways the two stories are similar, Clarke concludes that the combination ofRead MoreLiterary Analysis : Emily, Wuthering Heights, And Jane Eyre924 Words   |  4 PagesLiterary Analysis The novels Emma, Wuthering Heights, and Jane Eyre were written by women in the 1800’s. The three writers chose to write and publish their novels under a different name from their own. Emma was written by Jane Austen, and published anonymously in 1815 (Behrens and Rosen 361). Emily Brontà « wrote Wuthering Heights, and was published in 1847 under the name Ellis Bell (Behrens and Rosen 368). The author of Jane Eyre, who was also the sister of Emily Brontà «, was Charlotte Brontà «. ThisRead MoreThe Upbringing Of Orphans By Charles Dickens And Jane Eyre1714 Words   |  7 Pagesorphans. The novels Oliver Twist by Charles Dickens 1838 and Jane Eyre by Charlotte Bronte 1847 depicted much of the 19th century working class and illustrated the treatment of orphans with different socio-economic perspectives. The role of the two orphans in the novels (Oliver and Jane) leads the reader through a maze of experiences, encountering life s threats and grasping its opportunities. The no vels show an insight of the two characters with a common childhood who were often treated with disdainRead MoreJane Eyre By Charlotte Bronte1374 Words   |  6 PagesJane Eyre by Charlotte Bronte Within the specter of the Gothic fictions arises the atmosphere of gloom, terror, and mystery with some elements of uncanny challenging reality. One major characteristic function of the Gothic fictions is to open the fiction to the realm of the irrational and perverse narratives, obsessions, and nightmarish terrors that hide beneath the literally civilized mindset in order to demonstrate the presence of the uncanny existing in the world known rationally through experienceRead MoreUse of Gothic Elements in Charlotte Brontes Jane Eyre1740 Words   |  7 PagesUSE OF GOTHIC ELEMENTS IN CHARLOTTE BRONTES ‘JANE EYRE Charlotte Brontes Jane Eyre was published in the middle of the nineteenth century. Bronte was greatly influenced by the Gothic novels that were in fashion before the time of Jane Eyre. The Gothic novel was popularised in the late eighteenth and early nineteenth centuries, and was defined by its use of suspense, supernatural elements, and desolate locations to generate a gloomy or chilling mood. The protagonist of the novel would generallyRead MoreUse of Gothic Elements in Charlotte Brontes Jane Eyre1729 Words   |  7 PagesUSE OF GOTHIC ELEMENTS IN CHARLOTTE BRONTES ‘JANE EYRE Charlotte Brontes Jane Eyre was published in the middle of the nineteenth century. Bronte was greatly influenced by the Gothic novels that were in fashion before the time of Jane Eyre. The Gothic novel was popularised in the late eighteenth and early nineteenth centuries, and was defined by its use of suspense, supernatural elements, and desolate locations to generate a gloomy or chilling mood. The protagonist of the novel would generally

The Romantic Period Free Essays

After the French Revolution, the Industrial Revolution, and other social reformations in Europe, the Romantic era emerged, shaping the literary sphere. From the Romantic the Romantic era , the Romantic Gothic subgenre evolved. Writers began to focus on the idea of revolutions, the limitless nature of human beings, the beauty of spontaneity, and the darkness of the sublime. We will write a custom essay sample on The Romantic Period or any similar topic only for you Order Now Amongst many writers during this era was Jane Austen. Historians have noticed that her writing seems â€Å"untouched by the political, intellectual, and artistic revolutions of her age,† causing many to believe that she is a Neoclassic rather than a Romantic Gothic (Abrams 16). At first glance, this accusation seems to be false; some of Austen’s novels, specifically Northanger Abbey, seem to contain Gothic characteristics; however, an in-depth analysis of Northanger Abbey suggests that Austen wrote the novel as a Gothic satire. Austen mocks the sentimental Gothic conventions of her time through the characters and setting, suggesting that she is not a Romantic. To begin, Austen uses Catherine Morland to ridicule Gothic heroines and reveal their absurd nature. In the beginning of the novel, the reader realizes that Catherine is slightly different from the typical Gothic heroine. Gothic heroines are usually depicted as beautiful, talented, and tragic. It is apparent that Catherine does not fit into this mold when Austen states that â€Å"no one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine† (Austen 15). Catherine is described as awkward, inattentive, and stupid. She lacks femininity because she favors boyish games over dolls and sports over informative books. As she matures, she isn’t gifted, skilled, or passionate—three qualities that most Gothic heroines possess. Catherine’s days are spent reading stories about heroines, suggesting that she subconsciously wishes she were one. While Catherine shows some heroic qualities (she demonstrates courage when she moves away from her parents and when she leaves the comfort of Bath to stay at Northanger Abbey), she mostly is presented as naive and immature. Austen uses these negative qualities to make laugh at the Gothic heroines of her day. Catherine’s character demonstrates how silly Gothic heroines are when she naively accuses General Tilney of murdering his wife. She is determined to prove her accusation while staying at his manor and becomes obsessed with exploring the forbidden gallery, the place where Mrs. Tilney died. While rummaging through the gallery, she realizes that there is no evidence of Mrs. Tilney’s murder—the apartments are quite normal—and she is caught sneaking around by Henry. Henry explains that his mother’s death and criticizes Catherine’s foolish accusations and thoughts. Austen writes, â€Å"Catherine was completely awakened. Henry’s address, short as it had been, had more thoroughly opened her eyes to the extravagance of her late fancies than all their several disappointments had done. Most grievously was she humbled† (Austen 187). This brings humor into the novel and encourages readers to laugh at Catherine’s stupidity. Through Catherine’s foolishness, Austen illustrates the ridiculous nature of Gothic heroines. In addition to the character of Catherine Morland, Austen uses General Tilney’s character to further mock the Gothic genre. She presents the General as the villain, a necessary role in the Gothic novel, but she reveals at the end of the story that he is simply a protective father. The General is depicted as evil through his short temperament, his refusal to speak of his deceased wife, and his domineering personality. During Catherine’s first night at the Abbey, she witnesses the General’s anger. The novel reads that General Tilney â€Å"pulled the bell with violence† and ordered that dinner be set on the table â€Å"directly† (Austen 157). This startles Catherine and puts the General in an unfavorable light. The next day, he appears even more odd when Catherine discovers that he doesn’t have a picture of his deceased wife hanging in his room. â€Å"My father was dissatisfied with the painting,† Eleanor states to Catherine (Austen 160). Catherine notices that the General never speaks of his wife and that he avoids anything that reminds him of her. From these details, Catherine infers that the General killed his wife. Later, General Tilney seems even more evil when he orders Catherine to leave the estate immediately. Catherine calls his actions â€Å"grossly uncivil† (Austen 212). Although the General’s anger, rudeness, and strangeness towards his deceased wife make him appear as the villain, the General is in reality a normal father who misses his wife and wants the best for his children. By presenting General Tilney to be scarier than he is, Austen brings humor into the novel and mocks the Gothic convention of a villain. Along with the characters, Austen uses the setting to further poke fun of Gothic conventions. Northanger Abbey, the setting of the second half of the novel, appears to be spooky and mysterious. Austen describes the estate as â€Å"rich in gothic ornaments† and gloomy in appearance (Austen 168). On the carriage ride to Northanger Abbey, Henry scares Catherine by telling her that she will experience horrors once they arrive, making her believe that his home is haunted. Catherine falls for this joke, especially when she finds a mysterious chest in her room quarters upon arriving. Later that night, she looks into a cabinet and finds a scroll of paper. While trying to read the writing, her candle goes out. Here, Austen builds the suspension. The scene is written in a way that encourages the reader to, like Catherine, believe that Northanger Abbey is haunted. Catherine breaks into a sweat as she stands in the dark with a storm occurring outside her window. After Catherine crawls into bed, Austen writes, â€Å"Hollow murmurs seemed to creep along the gallery, and more than once her blood was chilled by the sound of distant moans† (Austen 162). It is evident that the purpose of this section is to scare the reader and present Northanger Abbey as a typical Gothic setting. By the end of the novel, the reader realizes that Northanger Abbey is not haunted. When Catherine returns to the estate, Austen writes, â€Å"The Abbey in itself was no more to her now than any other house† (Austen 198). This provides more humor to the novel as the reader realizes that the mysterious chest and the forbidden gallery aren’t as frightful as Catherine initially saw them to be. Although Austen includes Gothic conventions in her novel, she makes it apparent by the end that everything scary about Northanger Abbey (the place itself and the General) stems from Catherine’s foolish imaginations, presenting the novel as a gothic parody. Thus, while Austen initially appears to be a Romantic, she separates herself from the Romantic group by playfully using Gothic conventions to poke fun of the Gothic genre. How to cite The Romantic Period, Papers

Freedom of Speech in Music free essay sample

Is It Freedom of Speech in Music? Freedom of speech and expression are two of the mainstays that make up the very fabric of this country. Music is a form of speech that gives the artist a platform to relay their message or opinion on any given topic they choose. When tragic events happen certain songs are viewed as insensitive and in return receive no radio time or video play. By banning music containing information pertaining to the tragic event, does the tragic event disappear? The First Amendment to our Constitution allows us freedom of speech and press provided we do not violate any other laws in the process. As we shall see, there are no laws providing for music censorship. Censorship can be attributed to time as well. In the days of Elvis Presley, a pelvic gyration was deemed immoral and obscene, so therefore it was not televised. In today’s society, that same pelvic thrust is in 95% of all music videos. As Robert Gross points out, â€Å" this controversy is a replay of the age old generation gap, in a new and, perhaps, more striking form. Iron Maiden may strike today’s adults as alien to their culture, but the author suspects that a similar reaction occurred when adults first heard the lyrics to Good Golly, Miss Molly (Gross 1990). Even more ridiculous, some attacks were racially motivated. In the 50’s, petitions were passed out saying, â€Å"Don’t allow your children to buy Negro records. † The petitions referred to the raw unbridled passion of screaming people with dark skin who were going to drive our children wild. Some things never go out of fashion in certain ideological camps. They are like tenets of the faith† (Zappa 1988). Musicians are often credited for using imagery, ideas, and obscene language in their lyrics. What some deem obscene is usually a documentation of real events and real people expressed through language suited to tell the story. â€Å"Explicit sex, violence, pain, suffering, and unusual human acts are characteristics of the human drama. Lyrical content is now censored when relating to explicit sex, explicit violence, or explicit substance abuse (Baker 1989). Listeners know that lyrics can be shocking, but those same lyrics describe the harsh realities of our world and lives. Frank Zappa is a musician that had a strong influence on early rock music. He noted â€Å" f one wants to be a real artist in the United States today and comment on our culture, one would be very far off the track if one did something delicate or sublime. This is not a noble, delicate, sublime country† (Zappa 1988). Jim Walsh’s article, â€Å"Censorship in music? My, what a wonderful idea! † is an opinionated article that focuses primarily on those who tend to believe music is the re ason for all the evils that exist in the world today. Mr. Walsh’s thesis sarcastically states he is all for censorship in music because it would make everything a lot simpler. Mr. Walsh talks about all genres of music in his article, touching on several key social topics in his message. For instance, he states, â€Å"We should make sure that the words â€Å"cocaine,† â€Å"weed† and â€Å"pot† are bleeped out on the radio because if we do that, then no one will ever get it in their heads to do drugs† (Walsh, 2000). Another example Walsh uses, â€Å"We should protest Bruce Springsteen’s â€Å"American Skin (41 Shots)† and Ice T-s â€Å"Cop Killer† and pretend that police brutality and intimidation toward African-Americans is a figment of black America’s imagination† (Walsh, 2000). Controversial music is intended to reach teenagers and young adults which, ironically is the same segment of the population censorship usually tries to protect. The thinking behind censorship is, without knowledge a corresponding action will not follow. Where this thought process fails is the action is what comes first, which is then interpreted through language. As Goethe points out, â€Å"It would be a bad state of affairs if reading had a more immoral effect than life itself, which daily develops scandalous scenes in abundance, if not before our eyes than before our ears. Even with children we need not by any means be too anxious about the effects of a book or a play. As I have said, daily life is more effective than the most effective book† (Goethe 1832). Music is a very powerful medium and in some societies there have been attempts to control its use. It is powerful at the level of the social group because it facilitates communication which goes beyond words, enables meanings to be shared, and promotes the development and maintenance of individual, group, cultural and national identities† (http://musicmagic. wordpress. com) References Baker, Susan, and Tipper Gore. Record Industry Misunderstands PMRC. Billboard Magazine Vol. 101, February 11, 1989: p. 9. Retrieved December 3, 2010 from http://www. noisebetweenstations. com/personal/essays/music_censorship. html Zappa, Frank. On Junk Food for the Soul. New Perspectives Quarterly Vol. 4, Winter 1988: p. 26-30. Retrieved December 3, 2010 from http://www. noisebetweenstations. com/personal/essays/music_censorship. html Censorship in music? My, what a wonderful idea! Saint Paul Pioneer Press (St. Paul, MN). 2000. Retrieved December 03, 2010 from accessmylibrary: http://www. ccessmylibrary. com/article-1G1-122119720/censorship-music-my-wonderful. html Lombardi, Victor. â€Å"Music and Censorship†. (1991, December). Retrieved December 3, 2010 from http://www. noisebetweenstations. com/personal/essays/music_censorship. html Goethe. Dialogues with Eckermann. 1832. As cited in Oboler. Retrieved December 3, 2010 from http://www. noisebetweenstations. com/personal/e ssays/music_censorship. html â€Å"The Power Role of Music in Society†. (2008, July 10). Retrieved December 3, 2010 from http://musicmagic. wordpress. com/2008/07/10/music-in-society/